Suda Jingka Kiln” of Kutani ware

Kutani ware was first produced in the early Edo period (1655-1868) when Maeda Toshiharu, the first lord of Daishoji Temple and a tea master, discovered ceramic stones used to make porcelain in a mine in his domain in Kutani (present-day Yamanaka Onsen Kutani-machi, Kaga City). By order of the domain, Saijiro Goto, who had learned pottery techniques in Arita, opened a kiln in Kutani Village, which became the production center of the ceramic stone, and the name “Kutani ware” was born.
However, several decades later, in the early 1700s, production ceased. There are no records of this period, and the cause remains a mystery to this day. The pieces fired during this period are later called “kokutani” and remain as masterpieces today, along with “aote,” a style of painting with an impressive array of green pigments, and “gosai te,” a painting technique that freely utilizes green, yellow, purple, dark blue, and red pigments, known as “kutani gozai. The first time the work was made was in 1914, about a hundred years ago.
About 100 years have passed since then. In the late Edo period, porcelain production resumed in Kanazawa and Komatsu, as well as Kutani and Yamashiro in the Daishoji clan, the birthplace of porcelain.
The Suda Seika Kiln in Kaga City was established in 1891 by Suda Seika I. In 1915, Kitaoji Rosanjin visited the kiln and was taught by Suda Seika I. It is said that Suda Seika I taught him how to make ceramics, and that this is what opened his eyes to the fascination of pottery making.

Introducing New Technology to Preserve Traditional Techniques

In a shopfront with a sense of history in the Yamashiro Onsen hot spring resort, there was a line of beautiful, yet somehow rustic, pottery.
Please take a closer look. Even dishes that look the same are different from one another. They may be slightly warped, blotchy, or have finger marks on them. It is more luxurious than something perfectly made, don’t you think? It is pleasant to use dishes that have a different flavor every day, ” says Suda Seika, the fourth generation of Suda Seika.
The fourth generation, who took over Suda Seika in 1981, continues to maintain the pottery techniques of the first generation.

Suda Keika, the fourth generation who took over the reins of Suda Keika in 1981, continues to preserve the pottery making techniques of his predecessor. All pottery is fired in a climbing kiln. We still use the same kiln that was used in the Meiji era. It softens the lines of the pottery,” says Suda.
There are some places that still use climbing kilns for ceramics, but this is the first time I’ve heard of a climbing kiln for porcelain. (Nakada) “Well, it’s not very stable (laughs). (Laughs) “Well, it is not stable (laughs), but there is no failure in pottery. Some people might say that distortion or blurring is a failure, but I don’t think so. Once a maker learns a little technique, he wants to make it look good. However, if a vessel looks like it was made by a machine, it looks fake. I think food tastes better when it is made by human hands,” he says.

The wood-fired climbing kilns burn for several days at times, and the smoke from the kilns has a large impact on the surrounding environment. The climbing kiln near the Suda Jinghua Kiln is covered by a building, and from the outside it does not look like one. There is a row of hot spring inns in the vicinity. …… We fire the kiln four times a year, and we have a special machine in the chimney that burns the smoke with gas so that there is no smoke.” In order to preserve the traditional techniques of pottery making, new smokeless technology is introduced as the times change. This balance between persistence and flexibility is what has spun the tradition of the famous kiln that has continued for more than 100 years. The fourth generation potter’s words resonated with me for some reason: “Even if something is warped or smudged, it is not a failure; it is more luxurious than something perfectly made.

The post Symbiosis of persistence and flexibility “Suda Jingka Kiln” 4th generation Suda Jingka / Kaga City, Ishikawa Prefecture, Japan first appeared on NIHONMONO.

In Ishikawa, where tea culture has been passed down since the Edo period (1603-1868), tea is divided into leaves and stems,
Ishikawa has a tea culture that has been handed down since the Edo period (1603-1868). Aburatani Tea, which began in 1918 as a tea seller, adjusts the heat according to the temperature, humidity, and condition of the leaves, and roasts the tea to the core of the stem to provide a richer aroma and a full-bodied flavor, which is highly appreciated by people of all ages.

The post A master roaster. Aromatic and full-bodied “stick hojicha,” Aburatani Seicha / Hodatsushimizu-cho, Ishikawa Prefecture. first appeared on NIHONMONO.

It began as a hakujiya (a woodworking shop)

The workshop originally started as a Wajima lacquerware factory in the late Edo period.
In the early Showa period (1926-1989), Hisayuki Kirimoto gathered wood carvers and started Hookjiya, and since then has continued to produce not only lacquerware, but also furniture and building interior materials using lacquer.

A ” hoojiya” is a craftsman who makes bowls and vessels using the wood as it is. The works of Kirimoto Mokkosho also stand out for their lacquerware, which brings out the natural texture of the wood.
On this day, Nakata was able to experience the process of applying lacquer to a spoon. The shape of the wooden base is a soft curve that fits well in the hand.

Wajima Lacquerware Suitable for Daily Life

Taiichi Kirimoto, the third-generation owner, studied product design and worked in corporate office planning before returning to Wajima to work in the woodworking industry. Traditional lacquerware and lacquerware that blends into modern life. Another challenge is to expand the possibilities of lacquerware. He creates lacquerware while keeping an eye on the needs of the times and striking a balance between the two.

Kirimoto Mokkosho” continues to produce lacquerware with the hope that lacquer will blend in with today’s lifestyle. In order to make lacquer more familiar to people, the company opened a “lacquer office” in Koto-ku, Tokyo. The room is entirely covered in lacquer. The walls, doors, and top panel are all covered with lacquer. ……
It is truly a room where life is lived together with lacquer. Anyone who makes a reservation can visit the room.

Having a chance to come in contact with Wajima lacquerware

Under the slogan “Lacquer is a friend,” he and other craftsmen established “Gallery WAICHI” in his hometown. The gallery was established to showcase the quality of lacquerware, innovative designs, and the passion that each craftsman puts into his work.

Lacquerware is a tradition of Wajima.
Craftsmen always have a desire to “bring lacquerware into daily life. Lacquerware with a warm luster and long-lasting luster is a must-have item when you want to pause for a moment and live a careful life.

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The post Wajima Lacquer Ware for Everyday Life “Wajima Kirimoto, Kirimoto Wood Works” / Wajima, Ishikawa, Japan first appeared on NIHONMONO.